Sunday, February 12, 2012

Orange Goblin A Eulogy For The Damned

Finally, we see the release of the new Orange Goblin album. It's really no exaggeration to say that Orange Goblin are one of my favourite bands, with a long discography of quality albums, each with a unique flavour and take on their inspirations. Starting out as a desperately mediocre doom band named Our Haunted Kingdom, their first album as Orange Goblin, Frequencies From Planet Ten, was a strange, psychedelic take on doom metal. Time Travelling Blues injected some biker-rock into the mix, and by the time The Big Black hit the shops, Orange Goblin were a heady mix of filthy Motörhead, greasy Black Sabbath, and Lynyrd Skynyrd- esque southern rock.

Coup De Grace saw a slight dip in quality with a more garage rock vibe, while Thieving From The House of God witnessed the return of doom rock. It was on 2007's triumphant Healing Through Fire - a fictionalised historical take on the Great Fire of London, that they finally had the confidence to be comfortable in their own shoes, and penned some stone cold classic tunes.

A Eulogy For The Damned is an amazing album, filled as it is with tracks not only equalling the best of their career, but topping them. “Red Tide Rising” erupts, with Ben Ward sounding like Lemmy, only with more of a swagger. The bruising romp of “Stand For Something” romps out of the speakers next, with a real anthemic vibe bringing to mind the self-assured songwriting of Saxon, only channelled through a stoner filter. “Acid Trial” has an almost progressive feel to it, with intricate spiralling guitar passages that bring to mind post-black metal in places, before settling back into a more familiar stomp. “The Filthy And The Few”, starting with the obligatory pro-hippie/ anti-police soundbite has a free-wheeling gallop to it that brings to mind expansive highways, desert sun and roaring motorcycles. “Save Me From Myself” has a languid southern rock vibe, with a somewhat more than usual introspective character from Orange Goblin. “The Fog” has a sound of crawling menace, as befits the subject title, while “Return To Mars” brings back the slightly crazy feel of their first couple of albums. “Death Of Aquarius” has a bad-ass mid-tempo thrash feel to it, while “Bishop's Wolf” brings the bad-time boogie of ZZ Top to its illogical, heavier-than-thou conclusion. The title track has the most accomplished arrangement of all, at parts being almost Led Zeppelin like, with Rush-ian progressive elements before giving way to the most hand-clapping, foot-stomping chorus of the whole album.

You can't really fault Orange Goblin at any level here – the music is better than they've produced before, with the same warm, clear production that their last album held. Motörhead aren't going to last forever, neither are Black Sabbath. Having seen a lack lustre performance from Lemmy and co. on the last couple of their gigs I went to, I can only compare them to the always triumphant performances of Orange Goblin. This may well be their Ace Of Spades, and this should be their time to ascend to the top of the rock n' roll tree in their native blighty. The Goblin is back, stronger than ever.

Twitter

Heavy Metal at About.com

Backlit

Issue #3 is out now!

Last Rites

Heavy Cream

Issue #2

Metal Bandcamp

Also writing for Metal Bandcamp!

Contributors

The Dragon of M87

Skull

Chris Davison

A word about reviews...

To clarify:

I was a staff writer at the British website Live 4 Metal for over 7 years. After a brief second run, editor Steve Green has now permanently closed down Live 4 Metal. I continue to write for Heavy Metal at About.com (editor: Chad Bowar). I am also now a contributing writer to the new 'zine Backlit (editors: Josh Haun and Brandon Duncan), and have just recently joined the staff at both Last Rites and Metal Bandcamp.

I use this blog to write album and concert reviews, as well as other odds and ends that pique my interest.

This is a hobby and nothing more. Hence, my reviews are solely my opinion and are written from the standpoint of a long time fan (I have been listening to metal since about 1978 or so). I do not write reviews from the standpoint of a musician, nor from an ideological point of view.

I do not use this blog to promote, or discuss, ideology, although I am an atheist and I have a scientific background. I do not engage in arguments about the "purity" or ideological slant of artists, but I do draw the line with racism and overt misogyny.

My opinions are impersonal. Negative opinions of an album are in no way meant as an insult to any person or band. If you take offense, please be aware that none was intended. My opinions are mine alone, and are merely based upon what I hear and whether I like what I hear. If you agree with me, fine. If you do not agree with me, that's fine, as well. Feel free to disagree and drop me a line if you wish to engage in a rational discussion. I do not engage in name calling, though, which is the last resort of those that lack the tools to engage in civil discourse.